Universal Access To All Knowledge
Home Donate | Store | Blog | FAQ | Jobs | Volunteer Positions | Contact | Bios | Forums | Projects | Terms, Privacy, & Copyright
Search: Advanced Search
Anonymous User (login or join us)
Upload

Reply to this post | Go Back
View Post [edit]

Poster: Rings&Bells Date: Jan 3, 2009 6:41pm
Forum: GratefulDead Subject: Good Matrices?

When looking for a source to listen to of a show, I always just pick the pure soundboard if possible. I never really saw the appeal of the matrix but with all of this talk about what a good matrix can do for a show, I'd like to be more acquainted. What are some examples where the matrix really works out well? Thanks!

Reply to this post
Reply [edit]

Poster: SkyDawg Date: Jan 3, 2009 9:17pm
Forum: GratefulDead Subject: Re: Good Matrices?

I mentioned this one in another post. It always works for me. The SBD is too sterile and the AUD is OK, but I love this matrix. I happen to really like the show itself too. It contains what I feel is the best ever Deep Elem Blues for one thing. This is a very blues centered show.

http://www.archive.org/details/gd1970-12-28.mtx.tobin.87294.sbeok.flac16

Reply to this post
Reply [edit]

Poster: Earl B. Powell Date: Jan 4, 2009 7:41am
Forum: GratefulDead Subject: Re: Good Matrices?

I'm not sure if they're still here, and too lazy to do a search, but the first encounter I had with a matrix was of the legendary Barton Hall 77 show. At the time, I was able to compare A-B-C for my listening preference and came away with a strong liking of the matrix version.

The one thing to be said is that because the AUD and SBD blend are mixed subjectively by the guy that's merging the two sources, the result can also be rather subjective.

Also, not to veer too far off course, WT had a point about pre-71 SBD's that has some merit. The earlier SBD recordings had a fairly dynamic sound that would bring the venues acoustics into play. This was probably due to the microphones being more omni-directional at the time. This allowed for crowd noise, natural echo or reverb from the hall and other stage sound to "bleed" into the microphones. The result was a more "live" sounding SBD.

This bleeding of sound between various sources made mixing a more difficult task and as equipment evolved, the microphones in use became more uni-directional, picking up only the sound source directly in front of it. The result on a SBD recording was a much more sterile or "dry" recording that lacked the "live" ambiance.

As such, many of the Tell-era recordings probably wouldn't benefit as much from the matrix treatment as say a non-Wall of Sound later era show. (I'd have to do some deeper thinking regarding Wall of Sound shows, since they were using noise canceling technology for microphone and monitoring purposes.)

Reply to this post
Reply [edit]

Poster: wonsing Date: Jan 3, 2009 6:50pm
Forum: GratefulDead Subject: Re: Good Matrices?

Healy Matrix' are pretty wild on a good day. Some of the DSO/GD DTS matrix' are the bomb. There is some really fine work here. Not like the old days. Now it seem like everyone needed instant gratification. A lot of time and money has gone into this project over the years.
We all should be very grateful.

Attachment: LMA.jpg

Reply to this post
Reply [edit]

Poster: rastamon Date: Jan 3, 2009 7:20pm
Forum: GratefulDead Subject: Re: Good Matrices?

http://www.youtube.com/watch?v=Uqxo1SKB0z8